With the New Year looming, I’m already planning the composition of some paintings for next year. One of the compositions will have a crucified male figure in background, with a female figure in foreground. I’ve already worked on preliminary poses for the female figure with my regular model, so I’m just in need of a male model for the crucified figure. I will be looking for someone of slim/athletic build under thirty, who is prepared to work for very low artist rates. I may have to avoid mentioning the crucified bit in any advert.
This past couple of weeks I have been working on some old, unfinished or abandoned paintings. One of them dating from 2010. Although I try to be methodical in my approach to work, it’s always a mystery how a painting will evolve. I might labour without success on what I thought was a straightforward composition, while more ambitious works might just emerge on the canvas, seemingly under their own volition.
Sometimes I just lose my nerve. I might have worked on a painting over a period of a couple of months, which will be the culmination of work started months earlier with a model posing in my studio; so I often feel quite nervous when applying the final glazes to a piece. I am aware that if I get it seriously wrong, I could ruin the painting. That is why I found it so relaxing working on these “abandoned” pieces. I had already given up on them, and had expected to paint over most of them. Although I haven’t finished them, I’m generally pleased with the results.